A VISUAL EXPLORATION OF THE EMOTIONAL EXPERIENCES IN WOODCUT City

VISUAL EXPLORATION 2

AVISUAL EXPLORATION OF THE EMOTIONAL EXPERIENCES IN WOODCUT

City:

AVisual Exploration of the Emotional Experiences in Woodcut

Displacementcan be relative and outstandingly productive. The marginalizationoccasioned in forms of migration can spawn new opinions and emotionsof a place and in some instances the correlation between places. Adisruption can enable personal change, which may take the form ofaltering the self. My recent woodcut and etching practices tell of ajourney of loss, displacement, and readjustment. The narratives takeform visually through abstraction and carvings in wood that lookslike a kind of trance throughout the presentation. While coming toterm with the loss of my identity is a process that I pursue tounderstand through my woodcut and etching. The work titled TwoNudes (Figura&amp Jelavich, 2011) the woodcut painting stands erect atSpaightwood Galleries engaging its viewers from a point of authorityestablishing a hierarchy. The work defines its space, suggests a newbeauty and way of perception (&quotWelcome to SpaightwoodGalleries&quot, 2016). In its wholeness, the wood cut possesses thepotential to become an installation.

InMartin Lewis’ Old Print Shop, his etchings describe their processthrough aide-mémoire colors references and inbred lines as anallegory to searching for individuality through an attachment to aplace (D`Alessandro, 2004). The movement of color and line transformthe external of the etching, referencing passageways that fusemindscape and emotions with a lived familiarity. It portraysparalleling tales have never been articulated before visualdialogues between the present and past, new world, old world etchedin the textured surface. Headof a Woman (Weller,1994) addresses the contrast of interpretation between mindscape andlandscape, place, and memory. The marking in the woodcut divulges asense of something concealed or imaginably a remnant from the past.In my woodcut practice, I not only depend on my memory to relate tothe past but as well as a visual apparatus in the present. As anabstract conception, emotions are addressed through a sequence ofprompts that invite the observer to partake in a journey that is initself an endless state of change.

ReferenceList

Weller,S. (1994). GermanExpressionist Woodcuts.New York: Dover.

D`Alessandro,S. (2004). GermanExpressionist Prints.New York: Hudson Hills Press.

Figura,S. &amp Jelavich, P. (2011). GermanExpressionism.New York: Museum of Modern Art.

Welcometo Spaightwood Galleries.(2016). Spaightwoodgalleries.com.Retrieved 3 August 2016, from http://www.spaightwoodgalleries.com